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Updated: June 14, 2025
And he again turns in love, enthralled at the feet of the harlot, Looks up into her face and listens as the woman speaks to him. The woman speaks to Eabani: "Lofty art thou, Eabani, like to a god. Why dost thou lie with the beasts?
The relationship between Gilgamesh and Eabani would be much clearer if the seventh and eighth tablets were preserved in good condition. The disappearance of Eabani before the end of the epic confirms, however, the view here maintained, that the career of Eabani was originally quite independent of Gilgamesh's adventures. His death is as superfluous as is his association with Eabani.
This aspect of the twelfth tablet is borne out also by the fact that the problem is not solved. There is a tone of despair in the final speech of Eabani, which savors of the schools of advanced thought in Babylonia. For the problem of immortality, a definite solution at least is offered.
The Old Testament supplies us with an admirable illustration of the method of obtaining oracles through the dead. Saul, when he desires to know what the outcome of a battle is to be, seeks out a sorceress, and through her calls up the dead Samuel and puts the question to him. Similarly, in the Gilgamesh epic, the hero, with the aid of Nergal, obtains a sight of Eabani and plies him with questions.
As it is, Eabani asks Ukhat to conduct him To the glorious dwelling, the sacred seat of Anu and Ishtar, To the seat of Gilgamesh, perfect in power, Surpassing men in strength like a mountain bull.
Jeremias translates 'seeks a friend, and refers the words to Gilgamesh, but there is nothing in the narrative to justify us in assuming that Eabani was thinking of the hero. It is used as a synonym of tappu 'associate, Delitzsch, Handwörterbuch, p. 10. Ideographically, it is composed of two elements, 'strength' and 'acquire. 'Companion in arms' is the fellowship originally meant.
The oriental love of story-telling has produced the Gilgamesh epic and, like a true story, it grows in length, the oftener it is told. Gilgamesh is merely a peg upon which various current traditions and myths are hung. Hence the combination of Gilgamesh's adventures with those of Eabani, and hence also the association of Gilgamesh with Parnapishtim.
Ishtar, determined that Gilgamesh should not escape her, flies in rage to her father Anu, the god of heaven, and tells of the manner in which she has been treated. Anu comforts her. Yielding to Ishtar's request he creates a divine bull, known as Alû, i.e., the strong or supreme one, who is to destroy Gilgamesh. At this point in the narrative Eabani is again introduced.
In the light of the Babylonian story of Eabani living with animals, Stade's suggestion receives a striking illustration. See Trumbull, The Threshold Covenant, p. 239. Kharimtu. In Arabic the word is likewise used for 'woman' in general. The temple at Uruk is meant.
Whose power is stronger than thine, Who rests not, ... neither by day or night. O Eabani, change thy ... Shamash loves Gilgamesh, Anu, Bel, and Ea have given him wisdom. Before thou comest from the mountain Gilgamesh in Uruk will see thy dream. Dreams play an important part in the epic.
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